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The illusory vitality of objects

Academy of Visual Arts (November 22, 2012)
789









CONFERENCE / SYMPOSIUM : International Conference on Research Creativity : Praxis

Making magic machines or practicing at the unknown
Articulating networks : Collaboration in the project Nocturne
Caught my wink
Haptic play : Materials, bodies, and architectures in dance and design
Intractable differences : Artistic research and the problem of practice
The mind-body interface : Hypnosis and direct experience
Inner technologies and the field of freedom
The illusory vitality of objects
Thinking through the body : A multimodal perspective from Autism
Praxis of creativity mining in Tibetan buddhism
Hand making community
Fair play : Contemporary collaborative painting
Culture, art and transformation
Art machines, cultural probes and academic practices
Old media, new media and the organic body
Poetry and translation : Collaborative practice and creative outcome
New maps for new spaces : The poetics of creative knowledge
Theory as practice and practice as theory : Praxis and the PhD in Art
Radical finitude : Difference as strategy
Seven typical hurdles to teaching creativity at art schools and how they ...
Blank model prototyping for creating wearable computers in ...
Image writing : Research on the expressive and communicative power of art
MAJOR SPEAKER : Graham, Anne
LENGTH : 34 min.
ACCESS : Open to all
SUMMARY : Memories emerge unbidden, stimulated by sensory perception embedded within the substance of material culture. These memories interact and interface, and it is this complexity of interactions and shifting meanings that we constantly tear down and negotiate. A critical aesthetic intervention into these processes can provoke highly charged recognitions for the viewer, my intention in this paper is to explore the nature of these 'critical aesthetic interventions' that make possible existential moments that bring key experience into focus. Most of the objects/artworks that are referred to in this paper are objects that occur as the detritus of performance, found objects or materials, manipulated objects or domestic objects. They are not so much about formal aesthetics, they are more resonant with aspects of use, of living; they are traces rather than representations. These objects have a 'vitality', to use Winnicott's term, I am interested in the use of these objects in participatory artworks where the 'illusory vitality of some of these objects further develops the idea of aesthetic experience as a body to body encounter.  [Go to the full record in the library's catalogue]



  ●  Persistent link: https://hkbutube.lib.hkbu.edu.hk/st/display.php?bibno=b3318444
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